5 Feb
2014
5 Feb
'14
8:06 p.m.
Spot on. It's in 9/8 time, with the choreography and tunes in three sections.
Comparing the gross structure of "Fan" vs traditional contras:
Traditional:
A1 - 16 beats
A2 - 16
B1 - 16
B2 - 16
If you're keeping count of beats, whether its a jig or a reel, you'll usually be
counting to eight in your head.
Fan in the doorway:
A1 - 12
A2 - 12
B1 - 12
B2 - 12
C1 - 12
C2 - 12
In your head you'll be counting 1-2-3-4-5-6, 1-2-3-4-5-6... With each beat subdivided
by three as in a standard jig. It's a very different feel from any other contra
you're likely to dance.
NB Cis wrote the article linked but the dance is by the immortal Gene Hubert.
On Feb 5, 2014, at 11:08 AM, Dave Casserly <david.j.casserly(a)gmail.com> wrote:
Hi Joy and all,
The Butterfly is a three-part slip jig (so in 9/8 time), which is exactly
what Cis calls for in the dance. I don't know why she suggests not to use
it; maybe she prefers a happier or bouncier slip jig? Or perhaps one with
longer phrases to work with the hey (the Butterfly is very much in
three-beat phrases).
-Dave
On Wed, Feb 5, 2014 at 2:03 PM, Joy Greenwolfe <joy2the(a)mindspring.com>wrote;wrote:
I seem to remember that The Butterfly is in 6/8
time instead of ¾, maybe?
I don't know how that would affect the dance in practice. I remember
enjoying the combination.
Joy Greenwolfe
Durham, NC
On Feb 5, 2014, at 1:03 PM, Joe Micheals wrote:
title
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http://www.sharedweight.net/mailman/listinfo/callers Cis Hinkle says "The Butterfly" is not
quite suited for "Fan in the
Doorway" Anyone know why? Seems I've
danced it to that tune but it has
been a few years!
-Joe Micheals
Seattle
On Feb 5, 2014, at 9:02 AM, Joseph Erhard-Hudson wrote:
> I've always thought of Fan in the Doorway by Gene Hubert this way. It
takes
> a little mind bending for everyone involved
(band, caller, and dancers)
> because it's danced to a 3-part slip jig, but once it gets going it can
> flow like silk.
>
> Choreography and one caller's notes here:
> http://www.sharedweight.net/pipermail/callers/2010-March/002510.html
>
> To those notes, I would only add, work beforehand with the band on how
to
> get going and how to stop. Your usual 4-beat
potatoes aren't going to
work.
Also,
some bands will have slip jigs of more than three parts. which can
work fine, you just can't count on ending the dance after a particular
phrase in the music. In my experience bands with slip jigs in their
repertoire are delighted to have a chance to play them for dancers.
Joseph
On Wed, Feb 5, 2014 at 6:14 AM, John Sweeney <info(a)contrafusion.co.uk
wrote:
>
>> Hi all,
>>
>> I am planning some workshops, for festivals here in the UK, with the >> "Flow & Glide Contras: Dances
with beautiful flow, connectivity and a
>> smooth, satisfying glide." (Thanks to Sarah VanNorstrand and no doubt
many
>
others for the title!)
>
> I have lots of ideas already, but am always interested in finding great
> dances that I am not familiar with.
>
> If you don't mind sharing, please let me know your favourite ONE or TWO
> contras that fit this description.
>
> Many thanks.
>
> Happy dancing,
> John
>
> John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
> http://www.contrafusion.co.uk for Dancing in Kent
>
>
>
>
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> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
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